MK Gallery, 900 Midsummer Blvd, Milton Keynes, MK9 3QA
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How to Construct a Time Machine explores photography and film as forms to be manipulated, enabling a slowing down, speeding up and holding still of time. Review by Edwina Attlee
Bosse & Baum, 133 Copeland Road, London SE15 3SN
Hendry explores different ways of containing, breathing, constructing and producing space, using materials to explore ‘memory architectures’ and fragmented structures.
Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, D-10557 Berlin
transmediale 2015 is something of a closed-loop system, where endless data capture and gamification is turned back on itself, and where digital labour is both critiqued and revelled in. Review by Rob La Frenais
Arnolfini, 16 Narrow Quay, Bristol BS1 4QA
Willem de Rooij’s works at The Arnolfini combine to offer a politically charged response to global protests. Review by Rory Duckhouse
BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA
Durant subjects seemingly disparate phenomena to a process of recycling, improvisation and low-tech construction. Review by Louise Winter
Whitechapel Gallery, 77-82 Whitechapel High Street, London, E1 7QX
'Adventures of the Black Square: Abstract Art and Society 1915–2015' takes Kazimir Malevich’s radical painting of a black square – first shown in Russia 100 years ago – as the emblem of a new art and a new society. The exhibition features over 100 artists who took up its legacy, from Buenos Aires to Tehran, London to Berlin, New York to Tel Aviv. Review by Ned McConnell.
Standpoint Gallery, 45 Coronet Street, Hoxton, London N1 6HD
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Standpoint Gallery presents Israeli-born, Cambridge-based artist Idit Elia Nathan's first solo exhibition. 'Footnotes Playing Dead' invites the audience to '“play with” and explore for themselves' aspects of the Israel-Palestine occupation through interactive artworks based on children's games. Review by Becky Shaw.
Chisenhale Gallery, 64 Chisenhale Road, London, E3 5QZ
For her first solo show in a public gallery, Caragh Thuring takes the perception of domestic and urban life as her subject. Her exhibition at Chisenhale Gallery, London explores the process of looking, the flow of information and the speed of consumption. Review by Daniel Barnes.
NGV International, 180 St Kilda Road, Melbourne, Australia
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Drawing parallels between educational models and contemporary art, Emily Floyd’s bold and colourful works generate spaces for social engagement and interaction whilst provoking discussions about contemporary social, cultural and political ideas.
Fondazione HangarBicocca, Via Chiese 2, 20126 Milano, Italy
Condorelli's exhibition of sculpture, installation, video and text is imagined as a context for the co-existence of objects, participants and the public, creating a new space for doing and thinking.
Modern Art Oxford, 30 Pembroke Street, Oxford, UK OX1 1BP
What comes through in the exhibition more than philosophical or aesthetic similarities is an endless pursuit of elusive beauty through artistic practice. Review by Jaime Marie Davis
Hunterian Art Gallery, University of Glasgow, University Avenue, Glasgow G12 8QQ, Glasgow, G12 8QQ, Scotland
Caught here are Skaer’s investigations into the essence of things and realities: intuitive, organic thought articulated in exquisite structures and meticulous processes. Review by Valerie Norris
Jerwood Space, 171 Union Street, Bankside, London, SE1 0LN
‘The Grantchester Pottery paints the stage’ is the 20th exhibition in the Jerwood Visual Arts’ Encounters series, a programme of one-off exhibitions which seek to encourage conversations and analysis through the exhibition-making process. Review by Kathryn Lloyd.
MOT International, 72 New Bond Street 1st Fl., London, W1S 1RR
John Russell’s second solo show, 'AQUARIUM PROLETARIUM' with MOT International continues to disrupt the boundaries between language and image through an immersive and multi-sensory installation, punctuated with darkly humorous images and philosophical references. Review by Zoë Marden.
